chubbyhippo

[chubbyhippo]

ICYMI, there was fear that companies were scraping public AO3 fics to train their AI without the consent of AO3 or its users. That fear has been confirmed.

AO3 has written about what they’re doing (and what they’re not able to do), and they recommend restricting your work to AO3 registered users only. [Instructions here]

This gross misuse of the archive by techbros is why I’ve locked down my fics for the foreseeable future. I recommend the rest of you do the same.

[chubbyhippo]

someday i will post this fic and then its all over for you fools. i mean not now. or any time soon. but someday it will happen

[chubbyhippo]

Berlin 1910

[chubbyhippo]

How to put “wrote fan-fiction” on your résumé:

Leveraged an inventory of established fictional character and setting elements to generate a disruptive custom-curated narrative entertainment asset.

[chubbyhippo]

how other people see my enthusiasm in writing fics: passion

how it really is:

[chubbyhippo]

How to Steal: Good Writers Borrow

Good writers borrow. Great writers steal. -T.S. Eliot *

This is great writing advice, but many people are wary about following it because they misunderstand what the terms “borrowing” and “stealing” mean in this context. 

I’m here to clarify. 

Borrowing is using something of someone else’s. Stealing is making something your own. 

This advice means two things:

1. Don’t be afraid of reusing elements from books you love.

I’ve spoken before about stealing in How to Steal: Know Your Tropes. When you see story elements** in a book you love, don’t think that they’re now off-limits to you forever. Just because you love The Great Gatsby and it’s set in 1920s New York doesn’t mean that you can now never write a story set in 1920s New York. Just because you love I Capture the Castle and it’s written as the protagonist’s journal, doesn’t mean you can never write a novel that takes the form of the protagonist’s journal. Just because Scooby-Doo… you get my point by now, don’t you? 

Take note of what you love in other stories.*** Remember those elements–the plot twists, character arcs, tropes, settings, etc.–and then use them to write a story full of things you love. 

2. Make the things you steal your own.

Borrowing, in this definition, would be writing about a 1920s bootlegger in love with the girl across the way, trying desperately to impress her with his wealth. You’re stealing from F. Scott Fitzgerald’s The Great Gatsby… and making it no less F. Scott Fitzgerald’s story. 

This example steals too much from one place. It’s too timid in it’s approach. it’s too afraid to take anything from the story, so it keeps everything the same. Anything that tries to be like Gatsby, but better is destined to fail. (Maybe a little like Gatsby himself. Just throw a bigger party, old sport! That’ll do the trick!) 

The key to stealing is stealing from multiple things at once until it looks like your very own thing. Stealing is writing a novel about a gang of mystery solving teenagers in 1920s New York, told in the form of a journal the group takes turns writing in. (Because we’re going to add a splash of Sisterhood of the Traveling Pants here.) 

Stealing is saying: these story elements are mine now and I’m going to use them the way I like, combined with my interests. And you know what? By stealing bits and pieces from all of the things you love, you’re creating something unique and new and wonderful. 

So go out there. And steal. Never borrow. 

*****

*This is commonly attributed to him at least. The internet tells me he definitely said something close to it. 

**Obviously, this doesn’t apply to the words themselves. Never steal somebody else’s words. Basically everything else is up for grabs, though. 

***You’re not limited to stealing from books. Steal from movies. From TV shows. From plays. From epic poetry. From that anecdote your neighbor told you last week. 

[chubbyhippo]

tagged by @piyo-13 <3

slow burn or love at first sight // fake dating or secret dating // enemies to lovers or best friends to lovers // there’s only one bed or long-distance correspondence // hurt/comfort or amnesia // fantasy au or modern au // mutual pining or domestic bliss // smut or fluff // canon-compliant or fix-it // reincarnation or character death // one-shot or multi-chapter // kid fic or road trip fic // arranged marriage or accidental marriage // high school romances or middle-aged romances // time travel or isolated together // neighbours or roommates // sci-fi au or magic au // body swap or genderbent // angst or crack // apocalyptic or mundane 

tagging @chom-raaa if you want to :D

#tbh the answer is almost always it depends XD #tagged

[chubbyhippo]

[chubbyhippo]

Lori Gottlieb, Maybe You Should Talk to Someone: A Therapist, Her Therapist, and Our Lives Revealed

[chubbyhippo]

“All that is gold does not glitter, Not all those who wander are lost; The old that is strong does not wither, Deep roots are not reached by the frost.

From the ashes a fire shall be woken, A light from the shadows shall spring; Renewed shall be the blade that was broken, The crownless again shall be king.”

↪ “The Lord of the Rings: The Fellowship of the Ring” by J.R.R. Tolkien 

[chubbyhippo]

me: i’ll just do a little research for this part of my fic, shouldn’t be too bad

me hours later at 5am still researching and becoming an expert on a useless subject for two lines of dialogue:

[chubbyhippo]

The significance of plot without conflict

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures–which permeate Western media–have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general–arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

Keep reading

[chubbyhippo]

Amazing Cloud Recesses Cake

I am in awe at this? The painting on the top of the cake?? The skill to write Gusu’s rules that tiny on the side of the cake???

那个喊蓝式家规的你给我出来，真的是魔鬼……#魔道祖师 #生日 #蛋糕

[chubbyhippo]

imagine being loved by me

Fandom: Boku no Hero Academia

Pairing: Bakugou Katsuki/Todoroki Shouto

Warnings: Todoroki family (child abuse)

“What’re you supposed to be, candy cane asshole?”

“Excuse me?” Todoroki frowns at the voice behind him.

“I said,” Bakugou rolls his eyes, “what’re you supposed to be, half ‘n’ half.” He leans forward just a tad. “Actually half ‘n’ half? You’re colder on one side.”

Todoroki stills.

“Tch, not gonna say?” Shrugging, Bakugou turns to leave. “Hope you’re strong enough to get in,” he throws over his shoulder with a sneer as he heads into the testing site.

Blinking, Todoroki furrows his brow at the boy’s back. Raising his right hand, he looks down at his palm and sees no sign of his quirk.

I wonder if…

Read here

For the TDBK Big Bang on Twitter!

The artist I worked with is @/sodatank on Twitter! Here is the post of the art~~

#bnha #todobaku #bakutodo #bakugou katsuki/todoroki shouto #bakugou katsuki #todoroki shouto #big bang #fanfiction #fic

[chubbyhippo]

[chubbyhippo]

das weiß ich auch nicht lass mich in ruhe

#wieso fragen Sie mich das T^T

[chubbyhippo]

Levels of headcanons

Tier I: The Analytical

1. States an obvious conclusion or implication that the text unaccountably fails to follow up on

2. Explores events concurrent with but not present in the textual narrative

3. Renders the story more coherent or structurally sound

Tier II: The Personal

4. Makes a character or situation more relatable to me

5. Increases the text’s entertainment value

6. Is my fetish

Tier III: The Metatextual

7. Exists as a pretext for the intellectual exercise of seeing how much textual support I can find for something patently absurd

8. Less an elaboration upon the text and more a critical response to the text

9. Adopted specifically to spite the text’s author; fight me, Joanne

Tier IV: The Pernicious

10. Hey, you know what would be really fucked up?